Get your rewind button ready as Little Vic, TZariZM & Eddie Brock attack the mic with the slickest of lyrics on this posse cut from Little Vic's latest project "Apocalypto". The soulful head-nodder produced by Little Vic himself sets a nice tone for each MCs delivery with inspiring pianos and violins for a vibe reminiscent of Gangstarr's "What I'm Here 4". This is an impressive display of skill packed into a 4 minute song!
Little Vic's mixtape "Apocalytpo" is now available for free download, a deeply envisioned project with production by Little Vic, Buckwild, Big K.O., Velotz, John John, Sly Vest, KV. Vic is a talented lyricist who's visions of life are evident from the powerful bars he lays from song to song, he holds down the majority of the album himself with an array of cinematic writing, social consciousness, religious and historical perspectives.
athaniel Thomas Wilson (born July 20, 1968[1]), better known by his stage names ,Kool G Rap (or simply G Rap), Kool G Rap, and Giancana (Meaning of the abbreviation "G."), is an American rapper, from the Corona neighborhood of Queens, New York.[2] He began his career in the mid-1980s as one half of the group Kool G Rap & DJ Polo and as a member of the Juice Crew. He is often cited as one of the most influential and skilled MCs of all time[3][4][5][6][1][7][8][9][10] as he is a pioneer of mafioso rap/street/hardcore content[5][10][11][12][13][14] and multisyllabic rhyming.[15] On his album The Giancana Story, he stated that the "G" in his name stands for "Giancana" (after the mobster Sam Giancana), but on other occasions he's stated that it stands for "Genius".[1][16]
Contents
[hide]
* 1 Biography
o 1.1 Early Years
o 1.2 Kool G Rap & DJ Polo
o 1.3 Solo career
* 2 Legacy
o 2.1 Rhyme technique
o 2.2 Mafioso/Street content
* 3 Discography
* 4 References
* 5 Further reading
* 6 External links
[edit] Biography
[edit] Early Years
Wilson grew up in the poverty-ridden streets of Corona Queens, New York with legendary producer Eric B.[17] In an interview with The Source he stated;
“ Growing up in Corona was like a little Harlem, it wasn't that hard for a nigga to be influenced by the street life type of mentality. I was like 15 years old, Ma dukes couldn't dress a nigga no more and at that age you want a little money in your pocket. That's what gets us all, material possessions. A nigga got caught up in that mentality. Nigga started selling drugs at a certain point, and all that shit, it's what was goin' on in the streets ... eventually all my friends got smoked. Everybody was droppin'. All my friends started packing burners everyday, we was wild shorties. ”
—Kool G Rap, The Source Magazine, issue 72, September, 1995.[18]
Around this time, Wilson was looking for a DJ, and through Eric B., he met DJ Polo, who was looking for an MC to collaborate with.[17]
[edit] Kool G Rap & DJ Polo
Juice Crew producer, and Mr. Magic DJ; Marley Marl knew Polo, and allowed him and G Rap to go to his studio to do a demo, which resulted in the song "It's a Demo." The song was written and recorded in one night, and had Marley so impressed, that he instantly embraced Kool G Rap and DJ Polo as Juice Crew members (it's worth noting that this was the first time G Rap had ever met Marley.)[19] In 1986 on Mr Magic's Rap Attack radio show on 107.5, the duo got their first exposure which created more buzz. They eventually released "It's a Demo" as a single with "I'm Fly", along with two more singles. Shortly after this, Kool G Rap appeared on the Juice Crew's classic posse cut 'The Symphony' before they released their debut album, Road to the Riches in 1989.[20][21] This album and their two later albums, Wanted: Dead or Alive (1990) and Live and Let Die (1992), are highly regarded and considered Hip-Hop classics.[22][12][15][23][24][25] Eventually in 1993, Kool G Rap parted ways with DJ Polo in pursuit of a solo career.
[edit] Solo career
In 1995, Kool G Rap started his solo career with the album 4,5,6, which featured production from Buckwild, and guest appearances from Nas, MF Grimm and B-1 – it has been his most commercially successful record, reaching No.24 on the US Billboard 200 album chart.[26] This was followed by Roots of Evil in 1998.[1] He was then meant to release his next album, The Giancana Story in 2000, on Rawkus Records, but due to several complications with the label, the album was pushed back several times, and eventually released in 2002. In 2008 he released the EP Half a Klip on Chinga Chang Records, featuring production from, among others, DJ Premier and Marley Marl.[27]
Criticisms of Kool G Rap's solo albums usually focus on the production not being up to the standard of the rapping.[28][29]
While Kool G Rap has always been popular and well respected in Hip-Hop circles for his lyrical skills,[11][15] he never crossed over and saw the same level of commercial success as rappers such as Biz Markie and Big Daddy Kane, both also members of the Juice Crew.[30][31] He is known for consistently making records which are hardcore, dark, intelligent, and underground.[6][11][12][32]
[edit] Legacy
Kool G Rap is regarded as a hugely influential golden age rapper.[1] Music journalist Peter Shapiro suggests that Kool G Rap "created the blueprint for Nas, Biggie and everyone who followed in their path".[33] Kool G Rap is described by Kool Moe Dee as "the progenitor and prototype for Biggie, Jay-Z, Treach, Nore, Fat Joe, Big Pun, and about twenty-five more hard-core emcees",[3] and Kool Moe Dee also claims Kool G Rap is "the most lyrical" out of all of the artists mentioned.[34] MTV describes Kool G Rap as a "hip-hop godfather", adding that he paved the way for a lot of MCs who we would not have heard of otherwise.[5] Rolling Stone says, "Kool G Rap excelled at the street narrative, a style that would come to define later Queens MCs like Nas (who was hugely influenced by Kool G Rap on his early records) and Mobb Deep".[10]
Other artists who have named Kool G Rap as a major influence include Eminem,[35] Jay-Z,[36] Tajai of Souls of Mischief,[37] Vinnie Paz of Jedi Mind Tricks,[38] Steele of Smif-n-Wessun,[39] Havoc of Mobb Deep,[39] Rock of Heltah Skeltah,[39] MC Serch,[40] Termanology,[41] Black Thought of The Roots,[42] M.O.P.,[43] R.A. The Rugged Man,[44] Andre Nickatina, Necro, Bun B of UGK,[7] Rah Digga,[8][45] RZA[9] and Raekwon[46] of Wu-Tang Clan, Lady Of Rage,[47] Big Pun,[2] O.C. of DITC,[48] Memphis Bleek,[49] Kurupt,[50] Pharoahe Monch[51] and Twista,[52][53] among others.
He is also often very highly rated in terms of his technical ability[5][6][7][8][9][34][54] and is often ranked alongside other highly regarded golden age MCs, such as Big Daddy Kane, Rakim, and KRS-One.[11][15] In Jay-Z's track 'Encore', Jay-Z raps, "hearing me rap is like hearing G Rap in his prime",[55][56] comparing his skill level to that of Kool G Rap. Allmusic calls him "one of the greatest rappers ever", "a master", and "a legend".[6][57] A number of rappers, such as Ice Cube, Rakim, Big Daddy Kane, Lloyd Banks, and Nas have put him in their lists of favorite rappers.[58] Kool Moe Dee ranked Kool G Rap at No.14 in his book There's A God On The Mic: The True 50 Greatest MCs,[34] and MTV gives him an 'Honorable Mention' in their Greatest MCs Of All Time list.[5]
[edit] Rhyme technique
Kool G Rap is known for using complex multisyllabic rhymes since his debut (in a similar way to other golden age MCs such as Big Daddy Kane and Rakim),[15] and this remains a hallmark of his style, along with his rapid-fire delivery and "superhuman breath control".[15] Although many of today's MCs use multisyllabic rhymes extensively (such as Eminem, Pharoahe Monch, Nas, Papoose, and many others), Kool G Rap is known for taking the technique to its limits and packing in as many multisyllabic rhymes as possible,[59][60] sometimes all in the same rhyme scheme for a whole verse, such as on Sway & King Tech's 'The Anthem'.[60]
He has also been cited as one of Hip-Hop's greatest storytellers, alongside Slick Rick and Notorious B.I.G.,[61][62] with "laser-like visual descriptions",[12] and "vivid narratives".[15] Rolling Stone states that, "Live and Let Die continued G Rap's reign as rap music's premier yarn-spinner".[10]
Kool G Rap provided the foreword for the 2009 book How to Rap: The Art & Science of the Hip-Hop MC,[63][64] also providing insight into his rhyming technique.
[edit] Mafioso/Street content
Kool G(Genius)Rap is often credited as the first rapper to include mafioso content, as well as a lot of hardcore street content, into his lyrics.[5][10][11][12][13][14][15] This can be seen as early as 1989 in the song "Road to the Riches" where he makes a reference to Al Pacino (who plays mobster Tony Montana in the 1983 crime drama movie Scarface)[65] – this was long before albums such as Raekwon's Only Built 4 Cuban Linx… (1995), and Jay-Z's Reasonable Doubt (1996) made such references popular.[14]
Since his debut, he has used various references to mob movies in his lyrics, album covers, and titles.[1] For example, the first line of 'Bad to the Bone' from Wanted: Dead or Alive (1990) is, I'm bad to the bone / with a style like Al Capone,[66] the album Live and Let Die (1992) uses samples from the film The Untouchables,[67] the album cover of Roots of Evil (1998) uses elements from The Godfather and Scarface theatrical posters,[68] and The Giancana Story (2002) album title references Mafia boss Sam Giancana.[1]
Rolling Stone says, "before Kool G Rap, New York didn't really have the street rap that could hold its own against what artists such as L.A.'s Ice-T and N.W.A were churning out"[10] and that "G Rap excelled at the street narrative".[10]
His take on crime, violence, and the mafioso lifestyle ranges from remorse and contemplation (e.g. 'Streets of New York',[69] described by Rolling Stone as "a vivid look inside the misery of the hood"[10]), to glorification (e.g. 'Fast Life' featuring Nas[70]).
Personal Life
Wilson was once married to Karrine Steffans. They have one son. He also has children with other women.
The Roots is an American hip hop/neo soul band formed in 1987 by Tariq "The Roots Come Alive. Rahzel, Dice Raw, and Malik B. all parted from the band for differing reasons. In 2000, guitarist Ben Kenney joined The Roots and would stay with the band through their next album, Phrenology, before leaving to join rock band Incubus. After Phrenonlogy, guest performer F. Knuckles became a permanent member and Captain Kirk Douglas replaced Kenney, while Scratch also decided to leave the group. The next album was 2004's The Tipping Point followed by Game Theory in 2006. During 2007, longtime member Leonard Hubbard decided to retire. He was replaced by Owen Biddle. Rising Down, the eighth studio album from Black Thought (Tariq Trotter) and drummer Questlove (Ahmir Thompson) became friends at the Philadelphia High School for Creative Performing Arts around 1987. They began to do shows around Philadelphia and New York City with bassist Leonard "Hub" Hubbard and rapper Malik B.[2] By 1991, The Roots recorded an album Organix to promote at European concerts.[2]
[edit]From The Ground Up EP
From the Ground Up is an EP released by The Roots in 1994. It was the group's first release on a major label, having recently been signed with Geffen Records.
[edit]Do You Want More?!!!??!
Black Thought for the "unconscious" population,[6] peaked at #39 on the Billboard Hot 100 charts. At the 42nd Grammy Awards "You Got Me" won the award for Best Performance By A Duo Or Group[7] and the album was nominated for Best Rap Album.[8]
Steve Huey of the website allmusic perceived "a strong affinity for the neo-soul movement" in the album.[9] First-time cameos on TFA for Philly natives Beanie Sigel and Eve helped to earn them major record deals later (with Roc-A-Fella and Ruff Ryders, respectively). After this album, Dice Raw left the collective to record his solo debut album Reclaiming the Dead. In the summer, the band performed at the Woodstock '99 concert in New York state.[10]
[edit]Phrenology
Several members, including long time member Malik B., left the group. In December 2001, the Roots backed Jay-Z for his MTV Unplugged concert.[11] With heightened popularity came mounting pressure. The Roots released Phrenology (named after the pseudoscience of Phrenology) in 2002. Despite not charting as high as Things Fall Apart, reaching a peak of #28 on the charts, Phrenology was commercially successful, eventually going gold, and earning a Grammy nomination for Best Rap Album. At the time, however, there came rumors that the Roots were losing interest in their signing with MCA.[2]
During this time the band also backed Jay-Z for his 2003 farewell concert in Madison Square Garden, and appeared in the accompanying "Fade to Black" DVD.
[edit]The Tipping Point
After Phrenology, Ben Kenney and Scratch both left the group; Kenney joined the rock band Incubus.[12] This culminated with the release of 2004's The Tipping Point, the byproduct of several jam sessions.[2] The album earned two more Grammy nominations: one for Best Urban/Alternative Performance for the track "Star" and another for Best Rap Performance By A Duo Or Group for the track "Don't Say Nuthin'."[13] The Tipping Point peaked at #4 on the Billboard album chart. In 2005, Home Grown! The Beginner's Guide To Understanding The Roots, Volumes 1 & 2, a two-disc compilation album, was released. The Roots were among several performers on the 2006 film Dave Chappelle's Block Party, whose event took place on September 18, 2004[14] and was released on film two years later.[15]
[edit]Game Theory J Dilla in the form of answering machine messages.
[edit]Rising Down
The Roots' eighth studio album (10th overall), Rising Down, was released on April 29, 2008, the 16-year anniversary of the Rodney King riots of 1992.
In the weeks before the album's release, the original first single "Birthday Girl", a radio-friendly collaboration with Fall Out Boy's Patrick Stump was removed from the album reportedly because it didn't fit in with the album's tone.[17] It remained as a digital download available from iTunes as a bonus track, as well as on international releases.
Picking up where Game Theory left off, the album maintains a dark and political tone, with The Roots ?uestlove confirmed on Twitter that Black Thought spoke more broadly about the record on HipHopGame.com. Calling it a positive album, as opposed to their last two records, How I Got Over reflects the relief the band feels at the end of the Bush administration and the beginning of the Obama presidency. Guests are set to include Beanie Sigel; Young Chris; Chrisette Michelle; L.A. rapper Blu; Phonte of Little Brother; Pharoahe Monch; Cody ChestnuTT; Jim James; and Patty Crash, whose song "Serve This Royalty" is covered on the album. Rather than relying on samples, the album will be played live, with any covers (including "Celestial Blues," featuring the song's original artist, Andy Bey) being reinterpreted by the band.[19] The album was set to be released in February 2010,[20] but was subsequently pushed back to June 8, 2010.[21] The album's release date was pushed back again, and was released on June 22, 2010.
On June 24, 2010, J Dilla
The Roots and John Legend played live at the Rally to Restore Sanity and/or Fear in Washington, D.C.
KRS-One
From Wikipedia, the free encyclopedia
KRS-One
Background information
Birth name Lawrence Parker
Also known as KRS, Teacha
Born August 20, 1965 (age 45)
Flatbush, Park Slope, Brooklyn, New York City, New York, U.S.
Origin South Bronx, New York, U.S.
Genres Hip hop
Occupations Rapper, actor, record producer, author
Instruments Rapping, vocals, turntables
Years active 1981–present
Labels B-Boy, Jive, RCA, Duck Down
Associated acts Boogie Down Productions, Scott La Rock, Marley Marl, Diamond D, LL Cool J, Chuck D, Public Enemy, Buckshot, Talib Kweli, Immortal Technique
Website http://www.krsoneinc.com/
Lawrence Kris Parker (born August 20, 1965), better known by his stage name KRS-One is an MC and producer. Over his career, he has been known by several pseudonyms including "Kris Parker," "The Blastmaster," "The Teacha," and "The Philosopher."[1] At the 2008 BET Awards, KRS-One was the recipient of the Lifetime Achievement Award for all his work and effort towards the Stop the Violence Movement as well as the overall pioneering of hip hop music and culture.
Contents [hide]
1 Biography
1.1 Boogie Down Productions
1.2 Solo career
1.3 Stop the Violence Movement
1.4 Temple of Hip Hop
1.5 September 11 comments
1.6 Gospel of Hip Hop comments
1.7 Stepson's death
1.8 Benefit for first responders
2 Awards
3 Discography
4 Filmography
5 Books
6 See also
7 References
8 External links
[edit]Biography
Born Lawrence Parker in Park Slope, Brooklyn in the fall of 1965, the MC left home at 14 to become an MC and Philosopher. He came to live in a homeless shelter in the South Bronx, where he was dubbed Krishna by residents because of his interest in the Hare Krishna spirituality of some of the antipoverty workers. By the time he met youth counselor Scott Sterling, he was also writing graffiti as KRS-One (Knowledge Reigns Supreme Over Nearly Everyone). Together he and Sterling, a.k.a. DJ Scott La Rock eventually created Boogie Down Productions, releasing their debut album, Criminal Minded, in 1987. KRS-One has been a vegetarian since his youth.[2]
[edit]Boogie Down Productions
Main article: Boogie Down Productions
In the summer of 1984, KRS-One hit the music scene with a rap group called "Scott La rock and the Celebrity Three" with a record called "Advance". And that was, in a time when most rappers rhymed about cars, jewelry, alcohol, and the latest dance, KRS-One was rhyming about nuclear war prevention. Scott La Rock and the Celebrity Three was composed of Scott La Rock, Levi167, MC Quality, and KRS-One. After legal problems with the head of the label, Scott La Rock and the Celebrity Three were released from their contract. In the winter of 1984, KRS-One wrote a song called "Stop The Violence" although by this time The Celebrity Three had broken up and only KRS-One and Scott La Rock remained. Both realized they had to change the name of the group and they did: the new group was called The Boogie Down Crew.
In 1985, Scott La Rock, a friend of producer/writer Kenny Beck (2 The Limit, Octavia - Pow Wow Records and Mine All Mine, Cashflow - Polygram Records) asked Beck to do a record he had written for his brother Kevin Goldbeck. Since the record was not quite finished being produced yet for [Sleeping Bag Records] and Scott had a real affinity for the sty-lings of KRS-One, Kenny Beck decided to form a group around the three, Kevin (freshly released from New York State Prison), Scott and KRS-One. Their name was 12:41, given that moniker by Beck as that was the time they had completed the final mix. All three plus Beck can be heard rapping on the record. Scott, ever the social worker asked Beck to do this as a way out of the shelter for his friend Krs-one. Of course Kris and Scott wanted to concentrate on their own Boogie Down Crew but first they had to go through this. No one was paid for this project and the small amount budgeted by the label for the product prior to Scott La Rock's and Krs-one's involvement barely covered recording costs. This is why producer David Eng, Snow (Informer) and Inspector Gadget writer and studio owner of Bayside Sound (Lisa Lisa and Cult Jam, UTFO was brought in. The original song was written, produced and recorded by Kenny Beck and royalties and claims are being pursued for all parties involved. It was this project that educated Kris and Scott as to the importance of being producers of their music, as well as the artists, so at this point they decided to change the name of their own Boogie Down Crew to Boogie Down Productions.
At the close of 1987, the B.D.P lifestyle got real and Scott La Rock was killed trying to settle a dispute in the Bronx. This shocked the Hip Hop community and as a result rap and violence became a topic in the mainstream press. The rap community thought Boogie Down Productions was over but this only led to new plans for KRS-One. In 1988, KRS-One left B. Boy Records to sign with Jive Records and "By All Means Necessary" was released. Rap music was under a mainstream microscope and KRS-One now was able to release what he and Scott always dreamed about, an album that gave rap a different image. His first video on Jive Records was for "My Philosophy", a song that re-established his presence in the rap world.
KRS-One began his recording career as one third of the hip hop group Boogie Down Productions, or BDP, alongside DJ Scott La Rock and Derrick "D-Nice" Jones. They met during a stay KRS-One had at the Bronx Franklin Avenue Armory Shelter. La Rock (real name Scott Sterling) worked as a social worker there. The duo would begin to create music. After being rejected by radio DJs Mr. Magic and Marley Marl, KRS-One would go on to diss the two and those associated with them, sparking what would later be known as The Bridge Wars. Additionally, KRS had taken offense to "The Bridge", a song by Marley Marl's protege, MC Shan (later on, KRS One produced an album with Marley Marl in 2007); the song could be interpreted as a claim that Queensbridge was the monument of Hiphop, though MC Shan has repeatedly denied this claim. Still, KRS "dissed" the song with the BDP record "South Bronx"; next, a second round of volleys would ensue with Shan's "Kill That Noise" and BDP's "The Bridge Is Over". KRS-One, demonstrating his nickname "The Blastmaster", gave a live performance that devastated MC Shan, and many conceded he had won the battle. Many believe this live performance to be the first MC battle where rappers attack each other, instead of a battle between who can get the crowd more hyped.[1]
Parker and Sterling decided to form a rap group together, initially calling themselves "Scott La Rock and the Celebrity Three". That was short-lived, however, as the two peripheral members quit, leaving Parker (now calling himself KRS-One) and Sterling. They then decided to call themselves "Boogie Down Productions", "Success is the Word", a 12-inch single produced by David Kenneth Eng and Kenny Beck was released on indie Fresh/Sleeping Bag Records (under the group name "12:41") but did not enjoy commercial success. Boogie Down Productions released their debut album Criminal Minded in 1987. The album, whose cover pictured BDP draped in ammunition and brandishing guns, is often credited with setting the template for the burgeoning genres of hardcore and gangsta rap. Scott La Rock was killed in a shooting later that year, after attempting to mediate a dispute between teenager and BDP member Derrick "D-Nice" Jones and local hoodlums.
During this time KRS-One also gained acclaim as one of the first MCs to incorporate Jamaican style into hip-hop. Using the Zungazung melody, originally made famous by Yellowman in Jamaican dance halls earlier in the decade.[3] While KRS-One used Zunguzung styles in a more powerful and controversial manner, especially in his song titled "Remix for P is Free", he can still be credited as one of the more influential figures to bridge the gap between Jamaican music and American hip-hop.
Following the fatal shooting of Scott La Rock in 1987, KRS was determined to continue Boogie Down Productions through the tragedy, releasing the album By All Means Necessary in 1988. He was joined by beatboxer D-Nice, rapper Ramona "Ms. Melodie" Parker (whose marriage to Kris would last from 1988 to 1992), and Kris's younger brother DJ Kenny Parker, among others. However Boogie Down Productions would remain Kris's show, and their content would become increasingly political through their subsequent releases Ghetto Music: The Blueprint of Hip Hop, Edutainment, Live Hardcore Worldwide and Sex and Violence.
KRS-One was the primary initiator behind the H.E.A.L. compilation and the Stop the Violence Movement; for the latter he would attract many prominent MCs to appear on the 12-inch single "Self Destruction". As Parker adopted this "humanist", less defensive approach, he turned away from his "Blastmaster" persona and towards that of "The Teacha", although he has constantly used "Blastmaster" throughout his career.
[edit]Solo career
KRS-One performing in Belgium in May 2006.
After five largely solo albums under the name "Boogie Down Productions," KRS-One decided to set out on his own. On his first solo album, 1993's Return of the Boom Bap, Parker worked together with producers DJ Premier, Kid Capri and Showbiz, the latter providing the catchy-yet-hardcore track "Sound of da Police". His second album, 1995's KRS-One, featured Channel Live on "Free Mumia", a song in which they criticize Black Civil Rights Activist C. Delores Tucker among others. Other prominent guest stars on KRS One included Mad Lion, Busta Rhymes, Das EFX and Fat Joe.
In 1991, KRS-One appeared on the alternative rock group R.E.M.'s single "Radio Song", which appeared on the band's album Out of Time, released the same year.
In 1992, Bradley Nowell from Sublime featured an acoustic song named "KRS-One" with his voice and DJ's samplers.
In 1995, KRS organized a group called Channel Live, whose album Station Identification he produced most of, along with Rheji Burrell and Salaam Remi.
In 1997, Parker surprised many with his release of the album I Got Next. The album's lead single "Step into a World (Rapture's Delight)", containing a sample of punk and New Wave group Blondie, was accompanied by a remix featuring commercial rap icon Puff Daddy; another track was essentially a rock song. While the record would be his best-selling solo album (reaching #3 on the Billboard 200), such collaborations with notably mainstream artists and prominent, easily recognizable samples took many fans and observers of the vehemently anti-mainstream KRS-One by surprise. However, in August 1997, Parker appeared on Tim Westwood's BBC Radio 1 show and vociferously denounced the DJ and the radio station more generally, accusing them of ignoring his style of hip hop in favor of commercial artists such as Puff Daddy. Although having not been in the UK since 1991, due to the fact he does not fly, he claimed "to be in touch with the people", and said that "they weren't feeling Westwood, he's a sell out and has sold his soul to the dark side." This sparked controversy in the UK since Radio One was one of the main supporters of the single "Step Into My World" and caused the album to be his best selling. Parker has since visited the UK, most notably in May 2007, in a performance at the Royal Albert Hall where he once again dissed Tim Westwood in a freestyle.
In 1999, there were tentative plans to release Maximum Strength; a lead single, "5 Boroughs", was released on The Corruptor movie soundtrack. However, Parker apparently decided to abort the album's planned release, just as he had secured a position as a Vice-President of A&R at Reprise Records. The shelved album was again scheduled to be released in 2008, but ultimately an unrelated album entitled "Maximum Strength 2008" was released in its place. He moved to southern California, and stayed there for two years, ending his relationship with Jive Records with A Retrospective in 2000.
Parker resigned from his A&R position at Reprise in 2001, and returned to recording with a string of albums, beginning with 2001's The Sneak Attack on Koch Records. In 2002, he released a gospel-rap album, Spiritual Minded, surprising many longtime fans; Parker had once denounced Christianity as a "slavemaster religion" which African-Americans should not follow. During this period, KRS founded the Temple of Hiphop, an organization to preserve and promote "Hiphop Kulture". Other releases have since included 2003's Kristyles and D.I.G.I.T.A.L., 2004's Keep Right, and 2006's Life.
The only latter-day KRS-One album to gain any significant attention has been Hip-Hop Lives, his 2007 collaboration with fellow hip hop veteran Marley Marl, due in large part to the pair's legendary beef, but also the title's apparent response to Nas' 2006 release Hip-Hop Is Dead. While many critics have commented they would have been a lot more excited had this collaboration occurred twenty years earlier, the album has been met with positive reviews. KRS One has appeared on several songs with other artists, due to this he has received 9 Gold and 7 Platinum plaques.
KRS One has collaborated with several artists including Canadian Rap group Hellafactz, Jay-Roc N' Jakebeatz and New York producer Domingo among other. He and Domingo publicly squashed their beef that started over financial issues and released a digital single to iTunes on November 25. The single titled "Radio" will also feature Utah up and comer Eneeone and is dedicated to underground MC's that don't get the radio airplay they deserve.[4] In 2009 KRS One guest starred on several albums including Arts & Entertainmen on the song "Pass the Mic" by fellow Hip Hop veterans Masta Ace & Ed O.G and featured on the posse cut "Mega Fresh X" by Cormega (alongside with DJ Red Alert, Parrish Smith, Grand Puba, & Big Daddy Kane) on his album Born and Raised.
KRS One and Buckshot announced that they would be collaborating on an album set to be released in 2009. The first single, ROBOT, was released on May 5, 2009. The music video was directed by Todd Angkasuwan and debuted as the New Joint of the Day on 106 & Park on September 4, 2009. The album leaked on the Internet on September 9, 2009 and released album was released on September 15, 2009. It debuted at #62, making it on The Billboard 200 selling around 8,500 copies its first week and was met with generally positive reviews. Steve Juon of RapReviews.com gave the album a flawless 10 out of 10, claiming "Buckshot and KRS have achieved something rather remarkable here - an album I can't find a single fault with. There's not a bad beat, there's not a whack rhyme, there's not a collaborator on a track that missed the mark, and the disc itself is neither too short nor too long." [5]
In 2010 KRS One was honored along with Buckshot by artists Ruste Juxx, Torae & Skyzoo, Sha Stimuli, Promise, J.A.M.E.S. Watts and Team Facelift to name a few on their mixtape 'Survival Kit' which is an ode to the 2009 album Survival Skills by KRS One and Buckshot. The mixtape was released for free download on DuckDown.com. The album features new version of KRS classics 'South Bronx', 'Sound Of Da Police' and 'MC's Act Like They Don't Know' as well as new versions of well known Buckshot songs and 'Past Present Future' from the Survival Skills album. The MC Fashawn stated in his verse on MC's Act Like They Don't Know that 'I did it to make Kris smile I figured he'd appreciate it' [6]
Most recently, KRS-One was featured as the voice of Chris Cringle in the new Nike Most Valuable Puppets commercials. KRS One performed in May 2010 at SUNY New Paltz for their annual "Rock Against Racism" concert,
01. Soulshine (Feat. Mr. J Medeiros, Kam Moye, Bahamadia & Nicole Amina)
02. I Been (Feat. Rhema Soul)
03. The Whole World Remix (Feat. Anonymous)
04. Moodswing (Feat. Asheru & Talib Kweli)
05. Yao Ming (Feat. Project Move)
06. Shine Through (Feat. Supastition)
"Astronomix" is a notable producer compilation which displays refreshing new reaches in the direction of traditional Hip Hop sound and MC's who are inspired to write with passion based on the strength of good music. Astronote provides a varied selection of orchestrated, head-nodding beats with an edge that brings the best out the best of up-and-coming lyricists and veterans of the underground. As a member of A-Side Worldwide, Astronote has used his well-rounded skills to turn out top notch Hip-Hop, R&B, Funk, Soul & Pop tracks with or without samples. His production discography includes work with artists such as Talib Kweli, Buff1, Donwill of Tanya Morgan, Joell Ortiz, Guilty Simpson and Mayer Hawthorne.
"Astronomix" is available as a free download from Astronote's bandcamp.
1.Intro ft. Magestik Legend (Prod. Astronote) 01:38
2.King Magnetic - Hip Hop ft. Ali Armz & Slug (Prod. Astronote) 03:47
3.Jay Electronica - Exhibit C (Astronote Remix) 04:10
4.Ro Spit - What A Feeling (Prod. Astronote) 02:23
5.Ill Bill - Da Future Freestyle (Prod. Astronote) 01:48
6.Fresh Daily - Video Gamin (Astronote Remix) 02:44
7.AC - My Prediction ft. Don Cerino & Lu-Guz (Prod. Astronote) 03:54
8.Donwill - Love Life ft. Lee Sissing (Astronote Remix) 03:48
9.Drake - Over (Astronote Remix) 03:56
10.AC - Flawless (prod. Astronote) 03:48
11.Marv Won - Hustle Music (Prod. Astronote) 02:52
12.King Magnetic - TheTrifecta ft. Joel Ortiz & Tug McRaw (Prod. Astronote) 02:21
13.LMNO - Face To Face (Prod. Astronote) 03:37
14.Magestik Legend - The Showbiz (Prod. Astronote) 03:07
15.Shawn Jackson - Brand New Old Me ft. Jimi James (Prod. Astronote) 04:22
16.Now On - All You Ever Knew (Prod. Astronote) 03:48
17.Pugz Atomz - Bizness ft. Finale (Prod. Astronote) 03:13
18.Sha Stimuli - 123 (Prod. Astronote) 03:48
19.Invincible - 16 Bars (Prod. Astronote) 01:19
20.Grand Agent & Liv Raynge - FUBAR (Prod. Astronote) 02:27
21.Magestik Legend - Carbon (Prod. Astronote) 02:56
22.Outro ft. Magestik Legend (Prod. Astronote) 01:35
The Beatnuts are a New York-based hip hop group and production duo from Queens, New York City. Its current members are JuJu and Psycho Les. JuJu (born Jerry Tineo on December 4, 1968) is Dominican American from Corona and Psycho Les (born Lester Fernandez on April 10, 1972) is a Colombian American from Jackson Heights. The Beatnuts are the only Latino members of the Native Tongues collective. Although only peripheral members, they are routinely acknowledged by Q-Tip. The Beatnuts were originally a trio before Kool Fashion, now known as Al' Tariq, left the group to start a solo career. The Mighty V.I.C. (Groove Merchantz, Ghetto Pros) was also a member of The Beatnuts' production team for a while.
Contents
[hide]
* 1 History
o 1.1 Origins
o 1.2 Early production work
o 1.3 Debut albums
o 1.4 Commercial breakthroughs
o 1.5 Return to underground
+ 1.5.1 "Watch Out Now" controversy
o 1.6 Recent endeavors
* 2 Style
* 3 Discography
* 4 References
* 5 External links
[edit] History
[edit] Origins
JuJu and Psycho Les grew up in different communities in Queens, New York. Psycho Les started producing beats and DJing at age 15 under aliases including DJ Les Jams and DJ Incredible. At a high school in Flushing, Queens, a friend DJ Loco Moe introduced Les to fellow producer JuJu. While crate digging, both Beatnuts ran into hip hop pioneer Afrika Bambaataa. Bambaataa introduced them to Native Tongues members including De La Soul, A Tribe Called Quest and the Jungle Brothers. At this time, JuJu and Psycho Les were DJing parties under the alias Beat Kings. The Jungle Brothers claimed that they were not kings, but rather two nuts for their comical nature. They thus changed their name and "it stuck."[2] The two Beatnuts members later met up with rapper Kool Fashion.
[edit] Early production work
The Beatnuts entered the recording industry in 1990 producing two tracks for the electronica group Stereo MCs. Over the next two years, they produced songs for rappers including Common, Pete Nice and DJ Richie Rich and Kurious, as well as a full album for Chi-Ali. As of 1992, JuJu had not appeared on a record, but fellow The Beatnuts rappers Fashion and Psycho Les appeared on tracks that he produced. In 1993, The Beatnuts produced more songs for the artists they had previously collaborated with as well as Fat Joe, Suprême NTM and Da Youngsta's. At the same time, The Beatnuts made their name as remix specialists by remixing songs for MC Lyte, Da Lench Mob, Naughty by Nature, Jomanda and others.
[edit] Debut albums
The Beatnuts' early production work earned them a record deal with Combat Records in 1992. The Beatnuts planned on releasing a "mini-LP" through that label, but its release was delayed when Kool Fashion was sentenced to six months of jail for drug convictions (p. 31).[3] After Fashion completed his sentence, The Beatnuts left Combat Records and signed deals with Violator Management and Relativity Records. On April 6, 1993, The Beatnuts released their debut album, Intoxicated Demons: The EP, through their new label. It featured 11 songs, including the two singles "Reign of the Tec" and "No Equal". The album was characterized by its hedonistic party-style lyrics and sample-heavy jazz beats. It was a critical success receiving favorable reviews by Allmusic, The Source and Entertainment Weekly.[4][5]
The Intoxicated Demons was followed in 1994 with the eponymous full length album The Beatnuts: Street Level. Street Level followed its preceding EP in style, but slightly surpassed its commercial success by charting on the Billboard 200. It featured two singles, "Props Over Here" and "Hit Me with That", neither of which were commercial hits. Street Level was the last The Beatnuts album released before Fashion left the group to become a devout Muslim and solo artist under the alias Al' Tariq. He left The Beatnuts on good terms and collaborated with his former group on future albums.
[edit] Commercial breakthroughs
The Beatnuts did not follow up their 1994 album until releasing Stone Crazy in 1997. Although it contained "Off the Books", a single that charted on the Billboard Hot 100 and featured the first on-record performance by Big Pun, the album was not a critical success. Leo Stanley of Allmusic attributed its mediocre reception to its lack of energy—not its "jazz-inflected rhythms and hardcore rhyming".[6] Chris Ryan of Rolling Stone conceded that the album was still "something of a breakthrough" for The Beatnuts in spite of itself.[7] Two weeks after the release of Stone Crazy, The Beatnuts released Hydra Beats, Vol. 5, a small-scale instrumental album. Vol. 5 was one album in a series of vinyl instrumental albums released by underground label Hydra Entertainment.
1998 saw the release of The Spot, a remix EP that revamped songs from the first three non-instrumental Beatnuts albums. It additionally featured sequels to older Beatnuts tracks and one new song, "Treat$". It was released in anticipation of 1999's A Musical Massacre, The Beatnuts' most commercially and critically successful album. A Musical Massacre reached #35 on the Billboard 200 due to its hit single "Watch Out Now". The album is hailed for its "eclectic" and "textured" beats as well as its "rough, rugged, and raunchy" lyrics with slightly more content variation than past releases.[8]
After Sony released The Beatnuts's first hits compilation, 1999's World Famous Classics, The Beatnuts did not record another album until 2001's Take It or Squeeze It. Their 2001 album contained two slightly popular singles, "No Escapin' This" and "Let's Git Doe", but was unable to match the commercial or critical success of A Musical Massacre. Reviews by both Allmusic and Rolling Stone claimed that Take It or Squeeze It had a mix of inventive production and clichéd gangster rhymes.[9][10]
[edit] Return to underground
The Beatnuts' official logo. It is inspired by a similar symbol on the cover art of Hank Mobley's Turnaround.[11]
In November 2001, it was announced that Loud Records—whose father label Relativity Records had released all Beatnuts albums since their 1993 debut—had cut ties with The Beatnuts. The decision was followed by the release of two greatest hits: 2001's Beatnuts Forever and 2002's Classic Nuts, Vol. 1. While The Beatnuts were free agents, a rumor surfaced that JuJu and Psycho Les were going to collaborate with Al' Tariq under the group alias 'Intoxicated Demons'.[12] The Beatnuts did not reunite with Al Tariq, but instead signed with the underground label LandSpeed Records. In 2002, they released The Originators, a commercial failure that did not reach the Billboard 200 or contain charting singles. The album was still a critical success because of its catchy hooks and creative beats. Steve Juon of RapReviews.com remarked on the correlation between The Beatnuts' critical and commercial success:
If they are less known and don't sell as well being on an indie imprint like LandSpeed Records, it will still be worth it if the increased quality of their beats and rhymes remain this high.[13]
Instead of remaining on LandSpeed Records, The Beatnuts signed to Penalty Recordings before releasing their 2004 album Milk Me. Although Penalty was also an underground label, Milk Me was still able to scrape the bottom of the Billboard 200. The album was almost unanimously held to be solid. Nonetheless, three singles and an Akon guest appearance did not propel the album to the commercial success of prior Beatnuts albums.
[edit] "Watch Out Now" controversy
Milk Me contained the song "Confused Rappers", a track that dissed Jennifer Lopez for essentially stealing the beat from The Beatnuts' "Watch Out Now" on her 2002 hit "Jenny from the Block". The song criticizes Lopez's singing ability and looks, but ultimately criticizes the track's producers, Trackmasters and Cory Rooney, for stealing the beat.[14] Although The Beatnuts did eventually receive royalties, Psycho Les is still critical of the track's producers. The beats on both "Watch Out Now" and "Jenny from the Block" sample "Hi-Jack" by Herbie Mann.
[edit] Recent endeavors
In March 2007, Psycho Les released his debut solo album Psycho Therapy (The Soundtrack) on Pit Fight Records. Psycho Les additionally joined with Al Tariq and Problemz to form the group Big City. In June, they released The City Never Sleeps on Nature Sounds.
Later that year, The Beatnuts had a track included on the Official Joints mixtape, a collection of previously unreleased songs by NYC rappers.
In December, JuJu was arrested in Stockholm, Sweden for an alleged assault. He was detained for 36 hours for a "minor assault" after performing a concert.[15]
On September 30, 2008, Pit Fight Records released U.F.O. Files, a compilation of previously unreleased Beatnuts songs.
July 24, 2009, The Beatnuts performed with Slick Rick and Rahzel at the Roseland Theater in Portland, Oregon. Presented by Global Market Productions the show included all elements of hip hop: beat boxing, break dancing, DJ'ing, MC battles and graffiti art.
In October 2009, Deez Nuts, a semi-autobiographical theatre production conceived by Sacha Jenkins and starring The Beatnuts ran for 3 nights at the Ohio Theatre as part of the New York Hip-Hop Theater Festival.
[edit] Style
The Beatnuts are known for their sample-heavy beats and explicit party-ready lyrics. In early records, the beats had a jazz and funk-influenced sound, but later songs were influenced by Latin music. Critics have commented that The Beatnuts have consistently good beats, but lack in terms of lyrics. JuJu addressed this in a 2004 interview:
“ We are all about the beat, that's our formula when we produce shit, the beats gotta be hot, it's gotta grab you. 'Cause I'll be the first nigga to say that we're not the best MCs in the world. It kills me to hear these nice MCs rhyming over fucking garbage.[16] ”
Their production is noted as some of the most accomplished, if unheralded, in all of hip hop, often intricately detailed (as in their finely honed work for Mos Def on two tracks from Black on Both Sides) but more regularly barnstorming, club-friendly, flourish-laden party music.
The Beatnuts are noted for being unabashedly, bullishly ribald and in-your-face performers. Recent Beatnuts albums are characterized by more Latin influences.
